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An Embarrassment of Riches: Fifteen Years of European Decorative Arts Author(S): Ghenete Zelleke Source: Art Institute of Chicago Museum Studies, Vol

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An Embarrassment of Riches: Fifteen Years of European Decorative Arts Author(S): Ghenete Zelleke Source: Art Institute of Chicago Museum Studies, Vol Art Institute of Chicago An Embarrassment of Riches: Fifteen Years of European Decorative Arts Author(s): Ghenete Zelleke Source: Art Institute of Chicago Museum Studies, Vol. 28, No. 2, Gift Beyond Measure: The Antiquarian Society and European Decorative Arts, 1987-2002 (2002), pp. 22-89+93-96 Published by: Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4113042 Accessed: 03-03-2016 20:29 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago Museum Studies. http://www.jstor.org This content downloaded from 198.40.29.65 on Thu, 03 Mar 2016 20:29:11 UTC All use subject to JSTOR Terms and Conditions FIFTEEN YEARS OF EUROPEAN DECORATIVE ARTS This content downloaded from 198.40.29.65 on Thu, 03 Mar 2016 20:29:11 UTC All use subject to JSTOR Terms and Conditions . This content downloaded from 198.40.29.65 on Thu, 03 Mar 2016 20:29:11 UTC All use subject to JSTOR Terms and Conditions Gifts Beyond Measure Tea Service for Two n the seventeenth century, the introduc- c. I705 tion into Europe of three exotic, hot drinks Augsburg, Germany changed social life and customs in ways that Matthaus Baur II (German; act. 1681-1728) are still with us today. The importation of tea Silver-gilt, cast, embossed and chased, from China via Portugal and the Netherlands, and enamels on copper; teapot: h. 14.5 cm of coffee through the Ottoman Empire, and (5"/i6 in.); tea bowls: h. 5.4 cm (2Y8 in.); saucers: diam. 14.5 cm (51"/6 in.) of chocolate from Mexico via Spain provided Marks: Maker's mark for Matthdius Baur II; Europeans with nonalcoholic beverages that city mark for Augsburg; duty mark for Austria were thought to possess both restorative and (I806-07) medicinal properties. These initially rare and Restricted gift of the Antiquarian Society; Pauline expensive indulgences found their most Seipp Armstrong and Charles R. and Janice enduring use as lubricants for social inter- Feldstein endowments; through prior acquisitions course. Their popularity also required the of Mrs. Josephine P. Albright, Mr. I. D. Berg development of new, specialized forms for in memory of Alice Kimpton Berg, Estate of their preparation and consumption. This pre- Maribel G. Blum, Mrs. Elizabeth Peabody Boulon, Dr. and Mrs. William C. Brown, Bequest cious, almost jewel-like silver-gilt and enam- of Hans G. Cahen, Mrs. Richard T. Crane, Jr., eled service is among the earliest matching tea Mrs. Stanley Keith, Mrs. John L. Kellogg, the sets, and was specially made at a time when Marion E. Merrill Trust, Mr. and Mrs. Morton G. this beverage was almost as precious as the Neumann, Russell Tyson, Mrs. Joseph L. vessels in which it was served. Valentine and others, 1999.45.Ia-b, .2a.-b, .3a-b The earliest European teapots were made of silver; those that survive include English examples from the I68os, Dutch vessels from ON P. 22 Detail of cat. no. 29. the 1690s, and French pieces from the early 24 This content downloaded from 198.40.29.65 on Thu, 03 Mar 2016 20:29:11 UTC All use subject to JSTOR Terms and Conditions Gifts Beyond Measure eighteenth century. Matching services for tea, other tea bowl represents the fourth element, such as the Art Institute's intimate service for air, here personified by Juno and her peacock two, were first produced in Augsburg, Ger- companion. Supported on clouds, they many, in the last decade of the seventeenth are accompanied by Iris, the goddess of the century. Augsburg silversmiths established rainbow. the slightly flattened, spherical teapot form The imagery around the teapot illustrates represented here, complete with a figural handle the Judgment of Paris, in which the god and a spout that emerges from a grotesque face Mercury invited Paris, a shepherd, to declare and terminates in the head of a bird. This influ- Venus, Minerva, or Juno the most beautiful of ential design inspired many imitations, espe- the goddesses. Reading clockwise from the cially in porcelain: first made at Meissen after spout, Paris presents the prize of the Golden Apple of Discord to the naked goddess of 1710 and in Vienna from the early 1720s, they were eventually produced by every European love; standing behind her is the helmeted ceramic manufacturer. Minerva, and further to the left is Juno, held The Art Institute's service consists of a aloft on a throne of clouds. Paris won Helen teapot and lid, two tea bowls, and two saucers, as the reward for his choice, setting in motion each decorated with elaborate enamel painting the events leading to the Trojan War. While on copper and enframed by silver-gilt mounts, the Trojan theme might at first seem to be lim- some of which bear the mark of the silversmith ited to the teapot, it actually extends beyond Matthfius Baur II. The identity of the enamel it, binding the tea service together icono- painter is unknown, but he was clearly work- graphically. On the "fire" tea bowl, for ing at the top of his abilities at a time when the instance, Vulcan fashions armor for the Trojan technology of miniature painting had reached warrior Aeneas, while Jupiter sends bolts of its apex. Here, the enamel miniatures describe thunder to set the city of Troy aflame. an allegorical program that marries images of Such mythological or emblematic scenes the Four Elements--water, earth, fire, and were part of the common visual currency of air-with the story of Troy's destruction. On the time. Contemporary paintings were fre- one saucer, visible on the front cover of this quently reproduced in editions of prints, publication, water is represented by Neptune, which helped spread the latest styles and pro- who is depicted as a bearded old man with a vided imagery that craftsmen and designers trident; his young wife, Amphitrite, appears in could use in their own work. For example, on a cockle-shell chariot drawn by a team of dol- the reverse of the teapot, the enamel painter phins. The second saucer (upright at left) depicted Apollo riding across the sky in his describes the Asiatic (and later Roman) god- chariot, and the Three Graces dancing in an dess Cybele, who was thought to rule over all Arcadian landscape, drawing these scenes of nature; her attendants bring her the bounty from a series of engravings published in Augs- of the earth. The element fire appears around burg in 1703 by Johann Andreas Thelott.1 the exterior of one of the tea bowls, on which The scenes on the tea bowls and saucers must Vulcan, the god of fire and blacksmith to the be based on another, as yet unidentified set gods, is shown with hammer in hand, forging of prints, since the images on the "air" tea armor. He is accompanied by his burly assis- bowl and "water" saucer are repeated on a tea tants, the Cyclopes, who attend the furnace service by Baur now in the collection of the and aid him in his work. The decoration of the Staatliche Museum, Kassel.2 25 This content downloaded from 198.40.29.65 on Thu, 03 Mar 2016 20:29:11 UTC All use subject to JSTOR Terms and Conditions Gifts Beyond Measure 2. Spoon 3. Ladle 1685/86 1719/20 London, England London, England Thomas Cory (d. 1689) William Looker (entered mark 1713) Silver; 1. 37.2 cm (149/16 in.), w. 7.1 cm (23/16 in.) Silver; 1. 31.1 cm (12/4 in.), w. 7 cm (2"/I6 in.) Marks: in bowl TC in script (maker's mark, also Marks: in bowl, LO with two pellets above struck on the handle); lion passant (Sterling (maker's mark, also struck above the rib on the standard mark for 92.5 percent silver, also struck handle); seated figure of Britannia (for 95.8 per- on handle); leopard's head crowned (assay mark cent silver); lion's head erased (assay mark for for London); i (for i685/86) London on Britannia standard silver); D (for Inscriptions: engraved h on handle 1719/20). Inscriptions: F over FA, engraved on underside of bowl; M, engraved on front of bowl Gift of Mrs. Eric Oldberg through the Gift of Mrs. Eric Oldberg through the Antiquarian Society, 1987.133.1 Antiquarian Society, 1987-133.2 arge serving spoons and ladles such as early eighteenth century as soup, ragout, or these are relatively rare survivors of forms olive spoons, and were named for the popular that once must have been quite numerous. The olive stew with beef or veal, one of a growing large spoon has a wide, elliptical bowl that number of soups and stews featured at dinner.2 was formed from a sheet of silver, and affixed The ladle, meanwhile, was probably used in to a long, tapered, cylindrical handle terminat- conjunction with a monteith, or punch bowl, ing in a baluster-shaped finial. It is stamped since the utensil's deep bowl, with its slightly with the maker's mark for Thomas Cory, who everted lip, is ideally formed for the dripless may have been a specialist spoon-maker.
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